Moritz Rosenthal plays My Joys (Chopin-Liszt) 1942
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- Опубликовано: 17 окт 2024
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Chopin-Liszt Chant Polonais Mes Joies / My Joys / Meine Freuden, recorded on 3/18/1942
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Elegant, beautiful, masterful - what else would you expect from Rosenthal?
This recording of the famous My Joys comes from 1942, when his early fire and power had mellowed into a spirit of deep poetry. His playing is probably the most "colorful" of the Liszt students who recorded, with a command of keyboard tone and subtle chordal voicings of wonderful precision and perfectly nuanced shaping. His use of rubato is also sometimes very "19th century" but always absolutely compelling and never merely mannered.
"one of the most miraculous piano recordings ever made", from "The Third Ear, Listeners Companion", Page 223.
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A fascinating historic recording.
He takes his time with the music and lets it develop on its own. Unearthly pianissimi. Magical moments
Best Chopin... really...never heard a sound so intimate and free
Simply delightful! :-)
Great! Thank you for posting!
wonderful and thanks once again
The pianist is here simply better than the composer ...
This is by far my favorite interpretation of this song. He plays quite a few notes after the beat, but it gives it a sort of romantic rubato.
Sensational performance. It is a March 1942 recording. Rosenthal was 79 yrs old then. The most famous pianists of the first decades of the 20th century were Paderewski, Rachmaninoff, and Hofmann. Why doesn't Rosenthal figure prominently in the virtuoso discussions? He does not have obscure origins --- he was a Liszt student after all.
It is your prerogative, ika, to put tone and its color above all. In this way, you free yourself from melody and harmony. As for me, although my tastes change all the time, I still prefer music over tone. I enjoy this Chant polonais even when it's whistled, especially when I do the whistling!
I definitely think Rosenthal is one of the finest pianists ever.
'Richard Strauss [who was also a good pianist] was astonished at Paderewski's sensational success in America.
"I played duets with him one whole winter", he said, "and I never dreamed that he would create so great a furor. I consider d'Albert, Rosenthal and Emil Sauer much greater pianists. Paderewski, however, possesses a fascinating personality, and that wondrous head of hair no doubt plays a great role with the American ladies."'
Arthur M. Abell, "Talks with great composers"
How fortunate we are to have the recorded performances of Chopin's and Liszt's compositions by Pachmann, Paderewski and Horowitz among a very small group of others, as an antidote for the appallingly languorous, rhythmically flaccid, over pedaled with little or no variety of touch, performances that we hear in our recital halls today...
By 304712 L "... it's obvious you haven't really
listened to historical recordings or even informed yourself about
historical performance practice of the romantic period. In your modern
ears, the rubato of Pachmann or Rosenthal might sound "grossly
excessive". In fact, this use of rubato is the result of a long
tradition of cantabile playing on the piano, shared by Chopin (Pachmann
and Rosenthal, for instance, were taught by Chopin's pupils), by Liszt
and even by Bach and Mozart. If you listen more carefully, you can hear
how effectively historical pianists use rubato to create the effect of
an expressive human voice (again, this might sound "excessive" to you
but it is actually immensely difficult to create and requires a real
artist such as Pachmann). This approach allows great freedom for
expression, which is precisely why most hisorical pianists on record
sound totally unique and original, which is not the case with modern
pianists like Hamelin.
The "departures from the written score" might seem excessive in your
ears but it was absolutely normal and even required to be creative and
take risks in the 19th century (and probably earlier). Pachmann,
Friedman or Rosenthal create truly poetic, expressive, spontaneous
readings. Maybe, if Hamelin did something which isn't in the score, you
might actually notice that he doesn't really create much of an emotional
experience. He honors the score, yes, but that doesn't necessarily mean
he is creating music. I'd suggest you read Busoni's writings to
understand what composition and interpretation really mean. I do think
you need to see interpretation from different viewpoints, for it is in
fact you, not these historical pianists, who has broken with Chopin's
tradition.
oh, and you are being unfair in your criticism of the "dry and wispy"
sound because this is obviously a result of different instruments and
recording quality (remember modern pianists benefit from close
microphones and prepared pianos). the pedal is actually used
phenomenally by Pachmann or Rosenthal, you actually don't even notice
there is any pedal at all -- one of the most difficult effects to
create..."
I agree wholeheartedly
This is a wonderful summary of what is so great about playing of this era and exactly what is missing from our own.